tv [untitled] October 19, 2012 4:30am-5:00am PDT
languages so it was very hard for them to communicate. >> (speaking spanish). >> so the communication will be done by sign. >> (speaking spanish). >> they didn't talk but they could communicate each other. >> (speaking spanish). >> and the form of communication and many of the movements were -- they were used in the dances that we have today. >> (speaking spanish). >> this movement -- >> span spanish.
>> are >> >> (speaking spanish). >> are here and it means soul. >> (speaking spanish). >> and when we go to move our bodies -- >> (speaking spanish). >> they mean the essence. >> (speaking spanish). >> when they go to work the earth -- >> (speaking spanish). >> is the contact with our mother nature. >>nature -- >> (speaking spanish). >> that will live us food, take care of us and receive us before we die. >> (speaking spanish).
(music). >> okay do you have any questions? we need to have some minutes and would like to answer some questions. yes? >> (inaudible). >> is it hard to dance? >> (speaking spanish). >> it's not difficult. you just got to put a lot of effort into it. and okay so we're teaching classes at the cultural center on saturdays from two to three we teach cajon and three to four we teach dance. >> (speaking spanish). >> (inaudible). >> (speaking spanish).
>> yeah it does. >> (speaking spanish). >> (inaudible). >> (speaking spanish). >> but it will change, yes, of course if you do that. >> (inaudible). >> well, -- (speaking spanish). >> (speaking spanish). >> it's a type of plywood, so this one in particular -- yeah. >> (speaking spanish). >> (inaudible).
1500. yeah. >> (inaudible). >> no. no, no, just you have to leave this room thinking we did not kill anybody for that. yes, you had a question? >> (inaudible). >> yeah. well, yes, there are -- in cities like the northern part and lima there are certain districts like -- certain ones and the capital and to the south
of lima the district there and to the south almost border to chile there is a community that is unknown that we are doing research right now on it. yes, the value there and with chile and all of that area. yes? >> (inaudible). >> no -- you know what it is. it's a rubber stamp of the tube that is heating it. you can -- >> (inaudible). >> no it's a tube. somebody had a question. i don't know if we are running out of time or we have to go or -- >> (inaudible).
>> (speaking spanish). i think it was done two years ago. it's peru veian. >> (inaudible). >> (speaking spanish) the style in the music to hit all those notes back and forth and then the guitar which is a spanish instrument and the lyrics are from spain and the type of song is indigenous and the type of percussion can is african. >> (inaudible). >> yeah, you could hear in the music. it has that pitch and that sadness to it. >> (inaudible).
different number of japanese chamber music. what you will hear today however is a musical form that was transmitted by a specific group of musicians. all of the musicians by definition were blind males. the significance of this genre is perhaps at most notable for the aesthetic quality of its pieces of some of the great art works of this period and are represented by these artists which will appearing in the second piece. despite of this high aesthetic quality or the value of the repertoire itself the musicians were professional musicians and expected to
perform a wide variety of pieces, and as such this does not represent one genre. rather this is a collection of different genres that were practiced by different musicians and within this group of different pieces you have everything from extraordinarily silly pieces and for example the first piece to the great art works of 18 -- 19th century japan. the first piece -- this is very much a comic piece, and i do hope that you had type to look at the text of the program. i apologize for the formatting however my talents do not lay in the area of design. what i had hoped to do so you have line by line happening and
the english equivalent and those of you that have not had a chance to look at the text very briefly this is a parody of buddhist ritual. a priest decides he is going to show the powers of mystic buddhism and he appears and on the alter with different sorts ofornmen of owns and then progresses through profound things and all of these are tongue twisters but it's the first round of tongue twisters nothing happens and the priest is very upset and blushes extraordinary red and he tries again. the second time the chants are much shorter and he begins to lose his patience and again nothing happens. third
time nothing happens and he basically says how much time to turn to the wonderrous powers of the lotus set raand he does chanting and the parody is something like if anyone is old enough to remember and the mouse before vatican two and you don't understand anything and it's mumbo jump bow and this is a parody of that. the second and third pieces before the intermission i will not introduce. i think the program notes are sufficient and rather than lecture i would much rather you enjoy the performance. the one thing i would like to emphasize about the first piece this is indeed a comic piece and
in most instances westerners have a great problem when they come to a concert of classical music and view it as this is supposed to be serious music. this is not serious music and i would ask to you laugh. you are welcome to laugh. you may laugh. you need to practice laughing. we can progress -- all right. now, for those of you that find laughing difficult ladies and gentlemens you can at this timtiter in a nice way andf you want to be butch about it do the manly thought. please this isn't a work of aesthetic value it should be seen as humorous. as i of practicing this piece i can assure you and my ability for tongue twisters in english is limited let alone in japanese